李斯特晚期作品分析

A Pioneer of Impressionist Music—The Analysis of the Later Works of Liszt印象主义音乐的先声——李斯特晚期作品分析As a pianist, composer, conductor, music educator and social activist in Hungary,Franz Liszt was one of the people whose businesses were most brilliant during the Romanticism period.Well known in the history of Western music, Liszt’s music ideas and practices were famous for originality and prospective , especially his later piano works were different from the past in quality.Today, I report on the topic of Liszt’s late piano works after the 1860s, while the focal point is his creation after the 1880s, with emphasis on analysis and research of harmony and musical form,and compare his creative techniques with 20th century impressionist piano works.匈牙利钢琴家、作曲家、指挥家、音乐教育家和社会活动家Franz Liszt是浪漫主义时期事业最辉煌的人之一。

众所周知在西方音乐史上，Liszt的音乐创作思想与实践以原创性和前瞻性著称，特别是其晚期钢琴作品具有与以往不同的品质。

今天，我报告的主题就以Liszt晚期——即19世纪60年代以后的钢琴作品为研究对象，而重心是其80年代以后的创作，重点在分析和研究和声与曲式，并将其创作技法与20世纪印象派的钢琴作品相比较。

From the early quest of virtuoso playing and the middle exploration of program music, to seeking solace in religious music later, the focus of Liszt's musical career changed paring with the previous works,his later works were very different, the musical language became bitter, and used a series of unconventional techniques as a form of expression，which was not only relating to his courage to reform, respected and innovative musical ideas,but also connecting with Liszt's ill-fated destiny. Consistent with the vast majority of romanticists , Liszt insisted the theory called heteronomy of musical aesthetic. Although this concept hadn’t been used as a special aesthetic terminology, most of the composers of this period considered that music performed something other than pure tone, the content of music was an expression of emotion. So most people with romantic ideals advocated subjective feelings of expression, full of love of nature and fantasy of the future. So whether they were virtuoso playing skills, or techniques to subvert the traditional composition, in Liszt’s opinion, which was the need to express themselves. From this perspective, the difference between Liszt's musical language during his early and later period was ultimately a change of his inner feelings in his outward manifestation.从早期对演奏炫技的追求，到中期对标题音乐的探索，再到晚期在宗教音乐中寻求安慰，Liszt音乐生涯的重心转变很大。

与前期作品相比，他的晚期作品大相劲庭，音乐语言变得苦涩，并且采用一系列突破传统的技法作为内容表达的形式。

这与他勇于革新。

推崇创新的音乐理念有关，也与其命运多舛有关。

与绝大多数浪漫主义者相一致的是，Liszt坚持着音乐美学上的他律论（heteronomy）。

虽然这一概念当时还未被作为一个专门的美学术语来使用，但是这一时期的作曲家们大多都认为音乐表现着纯音响以外的某种东西，音乐的内容是情感的表达。

因此多数浪漫主义者均崇尚主观感情的抒发，充满对自然的热爱和对未来的幻想。

因此无论是炫技性的演奏技巧，还是颠覆传统的作曲技法，在Liszt看来，这都是为表达内心的需要。

从这个角度看，Liszt早期与晚期音乐语言的差异，归根结底是他内心感情变化的外在表现。

In Liszt’s later years,he mainly lived in Rome of Italy , Weimar of Germany, and Budapest of Hungary, spending most energy on music education and art management. However, the failure of saving Rome’s religious music , monotonous teaching life in Weimar, and the disappointment of declining in liberty and progressive ideas around the Hungarian national led Liszt pessimistic attitude toward life in his later years, such a pessimistic thought became a deep reason why his later music color had a significant change. In this process, Liszt demonstrated loneliness and pessimistic feelings and thoughts through constantly innovative techniques of music. While the ambitious musical genre and structure were spreading around the World, Liszt avoided the previously epic genre with grand drama concept, steering exploration to plain, simple piano ditty. By focusing on portraying life in family matters, to bare the inner world of the self.晚年的Liszt基本上在意大利的罗马、德国的魏玛和匈牙利的布达佩斯生活，主要精力花在音乐教育与艺术管理方面。

然而挽救罗马宗教音乐的失败，魏玛单调的教学生活，对匈牙利民族自由与进步思想衰微的失望，导致了Liszt晚年悲观的生活态度，这种悲观的思想成为他晚期音乐色彩发生重大变化的深层原因。

在这个过程中，Liszt通过不断创新的音乐技法表现了情感和思想的孤寂与悲观。

当宏大的音乐体裁与结构形式正传向世界时，Liszt 却避开了以往具有宏大戏剧构思的史诗性的体裁，转向对朴素、简洁的钢琴小曲的探索。

通过注重刻画生活中的凡人琐事，以袒露自我的内心世界。

Parallel progression which consist of the fifth interval and augmented third chord，non-overlapping three degrees chord structure，using pentatonic scale and whole-tone scale to create effects, these harmonic techniques appeared in large numbers in Liszt's late works.Liszt faded the strong contrast to the structure of the song structure, emphasizing the unity and random development of the music, often using single structure, parallel structure,freedom structure,etc. However, the innovative spirit of Liszt had not been recognized, some bad words such as "maverick", "trick" often attacked him. Schumann first thought, there was a great disparity between Liszt's piano talent and creative talent, Balzac criticized more sharply: "Liszt is a unique piano genius, he can rival Paganini, but he don’t have creative talent , he only has fingers. "Liszt once compared himself to a fireworks maker, when he put the most gorgeous fireworks to people,he found that these people actually were blind, of course, finally, he added, those blind viewers might restore their visions one day through the help of God .五度音程、增三和弦等组成的平行进行，非三度叠置的和弦结构，运用五声音阶、全音音阶来营造效果，这些和声技法大量出现在Liszt的晚期作品中。